Author Archives: Vijay

A creator’s creation creates his Creator’s likeness – then who is the creator

Today we head back to Pullamangai – Brahmapurisvarar temple. A treasure trove of miniature panels and we are going to see a whole ….lost for the right phrase to describe it!! Want to say something that will sound – like when Steve Irwin lands up on a viper’s nest or a pool filled with crocs. Isn’t she a beauty! Crickey, she’s a fiesty one!! How else to describe these. One particular sculpture, where the master sculptor – the master creator that he is, has tried to create the creator likeness. Well, if a creator creates his creator’s likeness – who is the creator. Read on to understand why i say this.

A very important legend is sculpted into these panels. The legend of Shiva – the one without an end or a beginning, the omni potent and omni present, the legend of Lingothbhava. This is a very important sculpture and a concept that was entwined into later temple building canons to occupy a permanent position on the the Shivaite temple architecture – into the Vimanam, positioned on the rear of the sanctum.

The objective of this post is not to hurt anyone’s sentiments, but just a simple reproduction of the legend as required to explain the sculpture.

There are ofcourse umpteen things to notice in this panel.

To start with we see the whole composition from far. There are 4 different parts of this sculpture and we will take each one in detail to view and study.

The main Lingothbhava sculpture.

The legend first – For the uninitiated, Hinduism’s basic trinity play a big role here – The creator ( must be five faced before this episode) Brahma, The preserver Vishnu and the destroyer Shiva. The story goes thus, once there arose an argument between Brahma and Vishnu, as to whose role / job was bigger and thus who was numer uno. As they kept on arguing, a huge pillar of fire emerged in front of them and a heavenly voice declared that whoever can find the start or end of the pillar is the best. Brahma took the form of a Swan and flew upwards to reach the summit and Vishnu took the form of a Boar and started digging down to find the base. They continued for ages without any success, when finally Vishnu gave up. Brahma on the other hand, noticed a flower falling down. He asked where was it coming from and the flower replied that it was falling down for ages from the top, not wanting to give up, Brahma convinced the flower to lie and brought it as proof to Vishnu to state that he had won the wager and collected the flower from the summit. At this point, from inside the fiery pillar Shiva burst forth and plucked out the lying head of Brahma ( he became 4 faced henceforth), and since he had lied, made a ruling that henceforth he wasn’t fit for worship ( so you generally don’t see Hindu Shrines dedicated to Brahma in India). Incidentally the said flower was also made unfit for worshiping within temples henceforth.

Both Brahma and Vishnu accepted that their ego had made them not realise the obvious that it was Shiva in front of them and he was Aaadhi andan ( endless, no beginning , no end). Now we return to the sculpture to view the characters.

Brahma flying upwards, Vishnu as the Boar boring down. Shiva (sadly badly mutilated) bursting from inside the pillar.

To the left and right, of this main panel – we see amazing sculptures of Brahma and Vishnu.


The facial features of Brahma are so exquisite – despite the legend, the sculptor has not once missed to shape the creator’s likeness – So, if a creator creates his creator’s likeness – who is the creator

Hey, this is not a movie or play, to end with the title. We have more beauties to take notice and enjoy.

We have some spectacular miniatures below the main panel, which we will see one by one. The panels first

We have already seen the famous Chandesaanugrahamurthy sculpture from Gangaikonda cholapuram. He is a pint sized beauty of the same. Shiva is shown fondly bedecking a flower garland on Chandesa’s head.

The next is Vishnu lying down on the coils of Adisesha with Lakshmi and another attendant.

This looks like Shiva and Paravathi – The posture seems to resemble Shiva as Gangadhara

The other side, we have three attendants, heavenly beings or royal persons


Next to them, is a very interesting miniature again – Shiva as Maha Sadhashiva. or is it Brahma??

Down below, we come to the last miniature in the panel ( there are of course some lovely Yaali rows which we will see in another subsequent post)

This has Shiva and Parvathi , kind of sitting on a throne with one leg bent ( upto the Knee) and kind of casually put on the throne. Its so amazing that they could sculpt to this detail in this scale. There is a cute Shiva Ghana by the side as well. Well inorder to truly appreciate the greatness of this we got to give you our signature photo – a scale comparison.

Satheesh’s masterstroke …another miniature from the same temple but with a car key by its side.

Picture courtesy’s are for our inhouse specialist Satheesh and Varalaaru.com archives.

The demon Kabanda who helped Rama- Prambanan sculpture

Thanks to a chance meeting with a fellow Ponniyin Selvan enthusiast yesterday ( Mr Sakthis) who had just returned from a business trip to Jakarta, he showed some photos of his friend of the famed Ramayana Panels of Parambanan in Jog Jakarta (Though the temple suffered serious damage due to earthquakes, restoration work is progressing well), reminded me to complete this long pending post. This is a long post, with some detailed references and would like our readers to take their time in reading through, to fully understand the beauty of the sculpture and the importance of this scene to the Ramayana. Its quite amazing how such could be so deftly sculpted.

A very important episode in Ramayana, filled with lots of twists and turns, splendidly depicted in far off Indonesia, is a feast for us today.

Story first: Following the introduction, its a very important stage in the Ramayana, Rama and Lakshmana are returning from Mareecha episode and find Sita missing. They panic and search everywhere. No one is able to help.

At this point they enter a forest which is very mysterious, for there is no living creature big or small in sight. There is a deathly calm and just as they were wondering what was the reason, out comes this hideous creature.

The creature was so huge, but was in essence only a trunk – no distinctive head ( ok the sculpture we see has a head !!, but no proper legs or arms, instead has tentacle like arms stretching to a Yojana ( ten miles!!), he had a massive gaping mouth in his belly – so huge that on seeing it Lakshmana compares it to the entrance arch of a huge city.

Now, lets view the sculpture. Thanks to the net, also found this lovely resource displaying sketches of the entire illustrated Ramayana panels from Parambanan. Very useful for someone to identify the sculptures with this as a guide

http://www.seasite.niu.edu/Indonesian/ramayana/rama23fs.htm

Now, as usual, the brothers get into action, which is what we see in the scene, chopping off each of the arms of the creature. Now, comes the interesting part, in this stage, the Demon addresses them as Rama and Lakshmana and implores on them to consign his massive body to flames. Rama asks him, how does he know them and hence he goes on to narrate his story thus.

[Source: Dowson’s Classical Dictionary of Hindu Mythology]

He was actually a Ghandharva Dhanu, who had done penance on Brahma ( who else) and got the power of immortal life. Drunk on his power of immortality he committed a disrespectful act against a holy sage ( Sthoolasira ?), who cursed him to loose his beauty and eternal life as a demon. Mortified Dhanu asks how he can get release from the curse and return to his Ghandarva form , the rishi said, ‘when Rama burns you, after cutting your
arms, you will get back your form’ – ref slOkam below [which this disfigured
and arms cut khabandha relates to Rama and lakshmaNa now] –

yadhaa Chiththvaa bhujou Rama: thvaam dhahEth vijanE vanE || 3-71-6
thadhaa thvam praapsyasE roopam svam Eva vipulam *s*ubham |

To add to this, in his demonic form, Khabanada ( or Kaavanda), fought against Indra, the lord of the gods, who used his weapon Vajra ( thunderbolt) against him.

*s*riyaa viraajitham puthram dhano: thvam vidhdhi lakshmaNa || 3-71-7
indhra kOpaath idham roopam praaptham Evam raNaajirE |

meaning: Oh, LakshmaNa, you may know me as the most handsome son of Dhanu,
and this misshaped form has chanced on me owing the ire of Indhra in
battlefield.

*Comment:* With that disfigured form and because of longevity of life, he
fought with celestial king dhEvEndhra. DhEvEndhra with his vajra aayudham –
thunderbolt – stuck Dhanu.

thasya baahu pramukthEna vajrENa shatha parvaNaa || 3-71-10
sakthinee cha *s*ira: caiva *s*areerE sampraveshitham |
anaahaara: katham shakthO bhagna sakthi *s*iro mukha: || 3-71-12
vajrENa abhihatha: kaalam su dheergham api jeevithum |

meaning: [khabhandhan says story to raama and lakshmaNa] – But the
thunderbolt that has a hundred cutting edges and that which is launched from
Indra’s hand has rammed my head and thighs into my body. [Slokam 10]

Then I asked indhra – ‘By the impact of thunderbolt disarranged are my
thighs and head, thereby my mouth, went into my stomach. And without thighs
how can I prowl, without arms how can I scrabble, and without a mouth how
can I guzzle, and how am I capable to live on, and when that living is also
destined for too long a time to come’ [slokam 12]

sa Evam uktha: mE *s*akrO baahoo yojanam aayathou || 3-71-13
thadhaa cha aasyam cha mE kukshou theekshNa damshTram akalpayath |

meaning: When I said this Indhra, Indhra devised for me a ‘yojana long’
arms, and also that way a rapier-fanged mouth in my paunch.

[so these long arms stretching to a yojana – {one yojana I read somewhere as
10 miles} and blade like teeth in the fang etc are indhra given and see in
next slokam what he is eating]

( Look at the sculpture – you can see the tentacles still left on one side – one even then eyeng the frog – but also see the head, hands and legs – maybe not a 100% true depiction)

so~aham bhujaabhyaam dheerghaabhyaam sankrushya asmin vanE charaan ||
3-71-14
simha dhvipi mruga vyaaghraan bhakshayaami samanthatha: |
sa thu maam abraveeth indhrO yadhaa raama: sa lakshmaNa: || 3-71-15
ChethsyathE samarE baahoo thadhaa svargam gamishyasi |

* *

meaning: Such as I am, I have been eating the lions, elephants, animals, and
tigers that are on the move in this forest, hauling them in with both my
overlong arms. [Slokam 14]. Indra has also said to me, ‘as and when Raama
hacks off your arms, along with LakshmaNa, in a conflict, then you can go to
heaven…’ and vanished.

In return, he promises to provide vital clues about Sita. At this point Rama is a bit worried, being a demon will he keep his word. He asks him to give him the information and then he would burn him. For which the demon refuses, saying what if they take the information and leave him. So there is a standoff

aham hi mathi saachivyam karishyaami nara rishabha || 3-71-19
mithram chaiva upadhEkshyaami yuvaabhyaam samskrithO agninaa |

meaning: ‘Oh, impetuous man Raama, if I were to be beatified by you two by
incinerating me in fire, I will advice you about the next course of your
action. I will further advise you about your prospective friend” So said
Khabandha to Raama.

*Point:* raama did not straightaway accept that – started explaining how he
knows the only portion of story ‘that raavaNa lifted seethaa and left, and
beyond that he does not know any thing’. This also leads all, to think a
sort of mutual distrust existed between raama and khabhandhan – for a
shortwhile – for – if I burn him then perhaps he will be released from his
curse and may not be able to remember what information he had or has
collected earlier with or in that body.

On the other hand khabandhan had the distrust, ‘if I tell the guiding
message now, after receiving it, if these two vanish, without burning me,
then my release is not there’. That kind of ‘mutual distrust situation’.
After a while, raama asks khabhandhan, ‘please show mercy’ and assures ‘we
will fulfill your request’. Perhaps you may have another opinion also, ‘why
should raama ask for mercy or beg before such fellows like khabandhan’ and
not show his super human power. Please recall that statement – ‘aham
maanusham manyE’ – ‘think that I am a man’ – even at the end of the great
war with raavaNan and that too after brahma says you are so and so and not
simply a man – so he acts like a man having doubts and distrust and all that
—

*s*Oka aarthaanaam anaathhaanaam Evam viparidhaavathaam || 3-71-23
kaaruNyam sadhru*s*am karthum upakaarE cha varthathaam |
kaashTaani aaneeya bhagnaani kaalE sushkaaNi kunjarai: || 3-71-24
dhakshyaama: thvaam vayam veera *s*vabhrE mahathi kalpithE |
* *

meaning: It will be apt of you to show befitting mercy on us, who are
anguished by agony, running all over helter-skelter like unsheltered ones,
and we will be compliant for your restitution. Oh, brave Khabandha, on
bringing dried firewood that was rent at times by elephants, and on digging
a large trench, we will incinerate you in it.

*Point:* see the words ‘sOka arthaanaam anaathhaanaam’ – one who has all the
wealth at his command says I have only sOkam – deep sorrow only as my
wealth, the whole world looks upon him as their lord and he says I am
anaathha – lordless. [Yes of course he has no one above him so he is
lordless].

sa thvam seethaam samaachakshva yEna vaa yathra vaa hruthaa || 3-71-25
kuru kalyaaNam athyartham yadhi jaanaasi thaththvatha: |

meaning: Such as you are, if you actually know who stole Seethaa, or where
to she was stolen, either, you clearly inform about her, [when incinerated],
thus you will be rendering a most gracious deed to me, and to all
concerned”. Thus Rama made clear of his case.

Comment: when Rama thus agreed ‘to concede to khabandhan’s request’ for
incineration, see now khabandhan commands ‘please do it fast before sun
sets’.

kim thu yaavath na yaathi astham savithaa *s*raantha vaahana: |
thaavath maam avaTe kshipthvaa dhaha raama yathaa vidhi || 3-71-31

meaning: “Oh, Raama, soon you have to toss me into trench to burn me
customarily, sooner, for the Sun is going to Mt. Dusk when his horses are
fatigued.

Dhagdha: thvayaa aham avaTE nyaayEna raghunandhana |
vakshyaami tham mahaaveera ya: tham vEthsyathi raakshasam || 3-71-32

meaning: “Oh, Raama, the legatee of Raghu, when I am burnt by you in a
trench as per rituals, oh, great valiant Raama, for sure, I will tell of
him, who can quiet fathom that demon [who carried your wife seethaa].

Evam ukthou thu thou veerou kabandhEna nara ee*s*varou |
giri pradharam aasaadhya paavakam visasarjathu: || 3-72-1
lakshmaNa: thu mahaa ulkaabhi: jvalithaabhi: samanthatha: |
chithaam aadheepyaamaasa saa prajajvaala sarvatha: || 3-72-2

meaning: When Khabandha said that way, both those brave men and lords of
people, on throwing the body of Khabandha into a mountain cleft and then
embedded it with firewood. On his part Lakshmana started to torch that pyre
with highly sparkling torches from all over, and even that pyre too suddenly
blazed with blazes from all over.

Its already a long post, so let me cut this short, out of the Pyre emerges a radiant Danu and as promised advises Rama about the abduction of Sita by Ravana.

He also goes on to offer him a very important piece of advise, in his fight against Ravana – he says he cant go in alone, but could get help from the monkey army. But inorder to do that, he guides him to help Sugreev win his kingdom from Vaali, making him indebted to Rama. Thus Danu comes out as a very shrewd negotiator ( he got his work done before giving advise) and also advises Rama aptly, maybe if Vaali by his superior strength could have fought Ravana single handedly ( we seen the humbling of Ravana by Vaali earlier in sculpture), but then Vaali was a good friend of Ravana, and there would be no reason for him to support Rama. Hmmm

The vanishing wonders of Mogalrajapuram caves- Vijayawada

Many thanks to Sri Dhivakar for visiting this amazing cave and sharing his experiences and photographs with us. We need to do some more study of the sculptures and would be grateful if readers near Vijaywada can assist in some closeup, high resolution images of the same. Now over to the author for a wonderful guest post:

Its hard to separate Vijayawada from Kanaka Durga, even in our dreams, but today we are not going to see the famous Kanakadurga seated on the sacred abode of Indrakilaadhri, but a 1400 year old sculpted stone Durga and the rock cut caves of Mogalrajapuram (situated in the center of the city only). Some scholars account this to early 5th Century which is quite mind blowing.

In the midst of the sprawling town of Vijayawada, there are two caves which have barely survived, carved into a low hillock not higher than 10 feet. These caves which are under the upkeep of ASI, hold these surprising treasures.

The sculptors have cut into live rock and created a small room to host the main sculpture. The sculpture is much worn out and we have hardly make out the features. We can clearly make out a tail and an animal – a lion behind the sculpture.

As per the ASI board this is Durga.


Can a mere lion mount characterise a sculpture as Durga, the posture and the body proportions create enough doubts in our minds.

Taking the ASI stand that this is indeed Durga, this could be earliest depiction of Her in South India. Dr Kalaikkovan in his lovely work ` Mahendra Kudavaraigal’ lists the vallam ( near chengalpattu) Kotravai sculpted by Gommai as the oldest depiction of Her in South India. The above could make a strong contention to that stand.

The next hillock have some interesting sculptures and designs. The pillar designs are very familiar and the kudus on top contain some very advanced sculptures apparently of the Trinity.

There is a wonderful row of alternating lions and elephants above them and then there is a very badly worn sculpture right on top of this row. You can see the Demon being pressed down by a foot and then only the top portion with only 6 hands wielding various weapons n attributes. The posture and the silhouette of the weapons seem to suggest that this could be a depiction of Mahishasuramardhini but the popular contention is that this is Nataraja. Will present the early chalukya sculptures of Aihole, Badami – natraja ( is he depicted with the asura underneath Shiva as Nataraja) and Mahishasuramardhini ( with Mahisha being trampled ..) later on.

We might need some very detailed closeups of the weapons held in the hands to come to a clear verdict. But the technique is quite advanced and these could be dated to late 6th or 7th Centuries. Compare the kudus with those of Mahendra’s Dhalavanur.

Sadly these unique caves have not quite got the publicity they deserve and hardly anyone visits them. When will people realise the greatness of these treasures and give them the respect that is due to them.

Tanjore Big Temple – Vyaala row

In the previous post, we had seen the top row …many friends, even regular visitors to the Tanjore temple confessed that they have missed that row. So we rub it in a bit more, by featuring the bottom row as well. ( Thanks again to Satheesh for his excellent observation, use of props!! and photography)

Lets see if you can spot them first.



Hmm, let me make this easier for you all

next set

next set


next set

So, lets take a closer look at these beautiful Vyalaas, aren’t they Gorgeous.

The corners of these already miniature Vyalaas are even more spectacular. They have their own emerging rider similar to their bigger cousins on the top row. For good measure they have thrown an even smaller sculpture on top!

The ball pen cover provides us with an idea of scale.

To top all this, we also see a splendid miniature of Shiva as Gajasamharamurhty – Yaaniuri porthiya murthy.

So next time you visit the big temple, don’t just stop in amazement at its massiveness, take time to appreciate the smaller and subtle beauties as well.

The Yaazhi riders of Tanjore

After a series of serious posts, felt we need something light to relax. Plus Prasad said the last post had only few photos and satheesh said i wasn’t publishing enough of his photo contributions. ( same apology to chandra as well). Been quite occupied with work n travel, plus sometimes the story need to fit – dont want to just exhibit some photos – you can go to flickr / picasa for that. So this post is a conscious effort to redress the above, but combining with my favorites…tajore, yaazhi, sculpture.

Yaazhi’s are most probably the least viewed and discussed sculptures. Despite this they find prominent position in almost all major temples. In fact in tanjore there are two rows of Yaali’s which run almost right around the vimana base.

These kind of artistically border the great edicts ( inscriptions ) of my beloved Raja Raja Chola. Being there, standing amidst the massive edifice often leaves me under a spell,the air brings in many familiar scents, to be able to see the words, to be able to read them ( standing for a 1000 years) – its doesnt inspire a sense of awe, but more a feeling of returning to ones home, as though i once belonged there!

Back to the post, we are going to see the top row of impressive Yaazhi riders in this post. there is another row down below, which we will see later ( one thousand thanks to Satheesh for patiently taking these and sending over to me)

At first glance they do look similar, the symmetry is mesmerizing. What you must also notice is that these are action frames, the riders, the prancing yaazhis, the fighters emerging from the mouths are all full of live, frozen in time.

But are they symmetrical, r they just repetitive depictions of the same.


To give you an idea of the size of these beauties, as usual we place a common object..a mineral water bottle

The riders on their part come in a myriad of forms and poses.


The corners of this row of yaazhi riders are interesting as well. An unique mythological animal – a yaazhi as well is shown framing two fighters inside its open mouth – sometimes two yaazhi riders emerge as well. This concept is also seen in various early chola temples ( Chandra and Satheesh – will showcase them as well shortly)



What beautiful miniatures, next time please do not miss them.

Punishment for smelling the flowers meant for the Lord….

We have seen quite a few sculptural panels from Darasuram depicting the lives of the Shaivite Nayanaar stories. Today we are going to see one more, but in slightly more detail. For, presenting the story as it is, could lead a some misunderstandings, initially when i read it, it gave me a portrayal of brutal, cruel or even barbaric nature of not one but two exalted souls – two Nayanars who were made so in a single act. However, on reading the deeper left me with a better understanding. Inorder to compare and contrast the true meaning / lesson of this story, we are going to see two not dissimilar acts which ended up diametrically extreme outcomes.

Lets take the first case in question. Sculpture first. Another Periapuranam Panel from Darasuram.

At first sight its quite gruesome. It shows a King ( the impressive crown) is shown raising his sword to chop off a lady ( queens) arms from the elbow onwards. To make it worse he almost has a smile on his face, while the queen’s nose seems to be disfigured ( was it on purpose?)

Yes, this is the story of Kazharsinga Nayanar: Kazharsingar belonged to Pallava royalty. He was a sincere devotee of Shiva. Once he went on a pilgrimage and after worshipping at several shrines, he came to Tiruvarur. While he was worshiping the Lord, his queen Sangaa ( daughter of Rastrakutha King Amoga Varsha Nirupathungan and could be of the Jaina faith – source – Pallava History) walked around the temple watching the preparations for worship. Then she found herself in the corner where garlands of fresh flowers were being made ready for decorating the presiding deity.

Attracted by the variety of colours and scents, she drew near and picked up a flower that had fallen on the floor.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1253&padhi=72&startLimit=5&limitPerPage=1&sortBy=&sortOrder=DESC

The queen who in her mien was very like a peafowl,
Came round the temple, beheld each one of its glories,
Moved on and came near the mantapam where soft flowers
Were woven into wreaths; there she picked up a fresh flower
That had just then fallen, and inhaled its fragrance.
Translation: T.N. Ramachandran

When she began smelling it, Cheruthunai, an intense devotee of Shiva, happened to pass by. He was angry that she had desecrated flowers meant for Shiva’s worship and cut off her nose.( he was made a Nayanar for this as well – we will see his in later posts)

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1253&padhi=72&startLimit=6&limitPerPage=1&sortBy=&sortOrder=DESC

As she was so inhaling, the holy servitor Serutthunai
Thought thus: “Ha, she has inhaled a flower
Taking it from the mantapam (where garlands
Are being woven).” He ran in all haste, secured a weapon
Pulled the nose of the Lakshmi-like one who smelt
The honey-laden flower, and cut it away.
Translation: T.N. Ramachandran

On hearing the queen’s distressed cry, Kazharsingar hastened to her. “Who did this?” he thundered. Cheruthunai came forward and confessed of the horrible mutilation. But the king went one step further. He said, the first error was committed by the hand – for it had helped the act of desecration by picking the flower from the ground. So he drew out his sword cut off the queen’s hands as well.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1253&padhi=72&startLimit=10&limitPerPage=1&sortBy=&sortOrder=DESC

This Said, he unleashed his sword from its scabbard
With which his waist was girt, and saying:
“It is but proper that the hand which first
Touched the fragrant flower and picked it up
Should be first chopped,” cut off with bangles and all,
The roseate hand of his queen-consort
Of fragrant locks, his own beloved wife.
Translation: T.N. Ramachandran

Watching this scene of zealous Shiva-consciousness, the immortals rained flowers on them.

Before we go into the analysis of this episode, lets cross over to the more famous Kothai / Andaal amd compare Sangaa’s deeds with those of Andaal.
( thanks to Ashok for this splendid photo from Chettipuniyam Deva Narayana Perumal temple )

For the uninitiated ( thanks to wiki) – rest can skip the first para.

Aandaal is believed to have been discovered under a Tulsi(Basil) plant in the temple garden of Srivilliputtur, by a person named Vishnucitta who later became one of the most revered saints in Hinduism, Periyalvar. The child was named Kodhai (meaning, a beautiful garland, in Tamil) and she was raised by Vishnucitta. Kodhai grew up in an atmosphere of love and devotion. Vishnucitta doted on her in every respect, singing songs to her about Lord Krishna; teaching her all the stories and philosophy he knew; and sharing with her his love for Tamil poetry. As Kothai grew into a beautiful maiden, her love and devotion for the Lord grew to the extent that she decided to marry none but the Lord Himself. As days progressed, her resolve strengthened and she started to live in a dream world with her beloved Lord and was constantly fantasizing about marrying Him.

Vishnucitta had the responsibility of delivering flower garlands to the Lord’s temple, everyday. Goda made these garlands and sent it to her beloved Lord through her father. Eventually she started acting unusual by wearing the flower garland which was meant to be offered to the Lord. This is generally considered sacrilege in Hinduism because the scriptures teach the devotees not to offer to the Lord, a thing that has already been used by a human being. However, Kothai felt she should test to see how the garland suited her and only if it did, she should offer it to the Lord. One day, she was caught red-handed by her father in this strange act, and as an orthodox devotee he was extremely upset. He rebuked her and told her not to repeat the sacrilegious act in the future. A new garland was then offered to the Lord that day. Legend says that that very night the Lord appeared to Vishnucitta in his dream and asked him why he had discarded Kothai’s garland instead of offering it to Him. The Lord is believed to have told Vishnucitta that He had whole-heartedly accepted Kothai’s offering all this time. This moved Vishnucitta so much even as he started to realize the Divine Love that existed between the Lord and his daughter. From this day on, Kothai is respected by the devotees and came to be known as “Aandaal”, the girl who “ruled” over the Lord. She is also known by a phrase “Soodi kodutha Sudarkodi” which means “The bright creeper-like woman who gave her garlands after wearing them”.

Now that we have heard both, how was one different from the other. The difference between one being punished and the other being elevated to Godly status lies in the intent. While Sangaa smelt the garland / flower for herself, Kothai thought it fit to try on the garland to see if it suited her Lord, ie was the garland worthy of beautifying her beloved. It was her devotion and love for the Lord that made the difference. While the two Naynaars, one who did not hesitate even when facing the Land’s Queen with the entire might of the King’s retinue looking on, and the other – a mighty King, upholding the law, even if it meant striking down his favorite queen, and a beautiful one at that. Such was their devotion.

Was this the inspiration behind Mahendra Pallava’s sculptural quest

Since the site is dedicated to sculpture and its easy to fall in love with Pallava sculpture, it was very difficult for me to do this post. Quite often we get so obsessed with our favorites to the point of becoming fanatics. I am one such proclaimed Pallava fanatic. Quite often Kathie would drag me back to ground zero with interesting questions and photos from the middle kingdom. One such fanatical quest was that of Mahendra Pallava and his sculptural quest. A King hitherto unparalleled in his pursuit for artistic excellence in my eyes. But a chance glance at a collection of photos of Dr. Mohammed Tajuddin KHAN of an impressive cave in Andra Pradesh – the Undavalli Caves (Guntur District about 6km south west of Vijayawada, 22km north west of Guntur City and about 280 km from Hyderabad, Andhra Pradesh – thanks wiki) propped up some interesting questions.

I tried to check with Sri Dhivakar, who had done much research on the early life for Mahendra Pallava for his book – vichitracithan. Two interesting informations came out of the interaction – one – these caves were excavated between the 4th and 6th C.E (The caves are associated with the Vishnukundina kings of 420 to 620 A.D), definitely predating Mahendra Pallava’s famous excavation in Mandagapattu and two – Mahendra spent a good part of his early life in and around these parts. ( Simha Vishnu had a Vishnukundin Wife !!)

Before we start inferring anything from above, lets compare the sculpture styles under question. without burdening you with two many, am just throwing in one door guardian from both sites and a pillar each.


The pillar design, fluting, styling – the stance of the door guardian, the flexing of his hips down to his mace, the way he places his hands on his hips – the the lion banner on the pillar.

On the other extreme side, we can argue as to if Mahendra was responsible for carving the Undavalli caves – but then the time frame sets us back by atleast 50 to 100 years.

One more clue – is again the main argument proposed for Mahendra as the originator of cave or rock cut architecture is the famous Mandagapattu inscription. Let us see it once more now.

I quote Dr Nagaswamy’s words below

http://www.tamilartsacademy.com/books/mamallai/new-light.xml

”
Let us study the inscription itself. What does the inscription say? It says that this temple, dedicated to Brahma, Vishnu and Siva was caused to be made by Vicitracitta, without the use of brick, mortar, wood or metal. It does not mention that this was being excavated for the first time in South India. Nor in any of his subsequent inscriptions Mahendra assumed a title, commemorating this great achievement of his life. He was certainly fond of titles and could have assumed a title like “the first excavator of cave” Adyaguhayatanakari or some such thing. We do not come across any such titles in his inscription.
None of the epigraphical records, both lithic and copper plates, which were issued after him, refer to Mahendra’s achievement in excavating caves for the first time.”

But whatever we infer from the above, one thing is for sure – this was the first excavation of Pallavas.

The theory is not without speculation – as door guardians could have been carved later ( especially the ones in Mandagapattu door guardians seem to be slightly advanced in styling when compared to its own pillar designs !!)

Keeping these aside, what we infer is a logical progression. Both the styles are dramatically similar and one definitely predates the other. So, was Undavallai the inspiration behind Mahendra Pallava’s sculptural quest, heralding a golden age in south Indian cave / temple / sculpture / architecture.

For those who are still not convinced about the remarkable similarity in styles, presenting to you more parallels from other Mahendra caves and Undavalli. Believe me, this is not any trick photography – just placing them side by side for you to make your judgements.

Now, do you agree?

Another cave which offers some clues is Bhairavakonda, which we will see shortly.

Makara Thoranas an interesting link between Pallavas and Cambodia

I had loaned a book on Funan last week and found a very interesting sculpture. It reminded me of something we saw earlier in Dhalavanur. As i scrambled for the closeups and compared the two, i was stumped. Such a remarkable likeness is hard to achieve by pure chance. Oh, sorry forgot to put the pictures, so that you can all see the same – these are Makhara Thoranas ( The Crocodile Arches). Initially they just looked like some decorative motif, but then slowly a pattern emerged.


Many thanks to Mr. Andy Brouwer for readily giving me the permission to use his amazing snaps .

www.andybrouwer.co.uk/blog/

Do you see the amazing similarity between these two sculptures. lets see them a bit closer

So, it got me thinking of why and how – an imaginary creature adorning an early Pallava cave in late 630 AD could find such a twin parallel in far off Cambodia – Sambor Prei Kuk. Was this just a decorative motiff or is there more into this. When i searched the scriptures, a few references popped up here and there. But mostly were passing references to decorative stuff.

For eg, this 12th Tirumurai

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1228&padhi=72&startLimit=1071&limitPerPage=1&sortBy=&sortOrder=DESC

He had makara-toranas, beautiful bunches of areca-nuts
And severed banana-trees, peerless streamers
And garlands arranged in beauteous rows
And thus had the whole city with its long streets
Beautified with auspicious decorations;
It looked as though, the flawless, ethereal city itself
Had come down to the earth.
Translation: T.N. Ramachandran

Similar references come in the Ramayana as well. But what in essence is this creature, its sure an auspicious sign – denoting the higher heavens – so whenever a mighty city or godly dwelling was implied, the sculptor threw in the makara – the design elements have evolved into similar structures in most later Chola temples.

We miss these beauties in many later temples as well – Take a look at this decorative hand rail in Darasuram.

And this amazing Gyana Saraswathi from Rajendra’s Gangaikondacholapuram ( thanks to Mohandass for the photos) – the last dnap indicates the two wonderful makaras where the arch starts.


This pursuit led me to seek the guidance of hereditary architect and master sculptor Mr. K.P. Umapathy Stapathi. He was kind enough to explain the nuances of the makara thorana, its design elements combining 6 different species into one and integrating all of them into one confluence of fluid art, the variety of creepers at the base complementing the delightful curves of the front piece. He was kind enough to send us this illustrated photo to identify them.

It will be interesting to compile and study similar thoranas from various places.

Shatrumalleswaraalayam – a splendid creation of Mahendra Pallava

Vilupuram Sengi Road. around 11.30 noon

Ragothaman: Hey, its getting really hot. we have been driving for almost an hour, how far did we come 30 kms
Chandru: Just under 30 kms, we need to turn right before that
Narayanaswamy: Oh, how far have we come as of now
Driver: 27 kms done sir
Satheesh: Hey, there is the ASI board, road to Pallava cave Dhalavanur
Vj: Atlast, we are there. Is it that hillock
Chandru: No, we need to go another 6 kms from the main road.
Venkatesh: ok, then it can’t be this chain of hills
Chandru: This cave is very easy to spot. You can see it from the road,but cant drive near. You got to park and walk for say 200 mtrs.

Venkatesh: There, there, can see it from here itself. What a wonderful location. Mahendra’s choice is indeed spell binding. amidst rolling green farms, the rock outcrop offers a spectacular setting.

Chandru: Park the vehicle, by the side of the road, we need to walk up from here.
Farmer: Hey, don’t walk on the field, walk on the raised boundaries. we have just sown.
Vj: sorry we didn’t know. Wow, you got a pump set going, the cool water is inviting…

Ashok: What a setting. Its more a giant boulder than a hill
Venkatesh: Super spot
Vj: Hi chandru sir, the cave’s got an iron gate and is locked.
Chandru: The guard must be around here somewhere.

Farmer: Hi, i have the keys. They gave it to me , i only take care. They dont pay me any Salary !! if we don’t lock it the spoilt brats from the city come and …

Vj: ok, ok, we understand. We are not like that. Chandru sir, what pathetic work, how could they put these door frames on these stone pillars. and the blue paint, what a disgrace. they guy couldn’t even be careful enough not to spill on the pillar. and that too right over the superb pillar carvings…!! senseless brain dead @@@@@@

Ashok: Hi vj, see up.what is that

Satheesh: Hey vj, see this beautiful set of Makara thoranas – facing each other. there are small ganas riding them as well

Vj: Hey that is a kapota – kind of decorative arch with a face just peeping out. Reminds me of a cave in the Ellora group. need to check. Yes, satheesh wonderful stone work. reminds me of a similar one from Cambodia. will check !!!

Ashok: the door guardians are splendid. Look at their relaxed poses. They are majestic

vj: yes, the clothing styles and the left hand side guardians mace are very similar to Mandagapattu. See there are another set of them inside guarding the main shrine as well.
satheesh: see the inside structure, very different
Venkatesh: see that large crack running right across !!
Ragothaman: as we enter we seem to be inside a hall and then turn left to see the main shrine. very different perspective

Vj: yes ragu, another set of mahendra pillars and two pillasters form a mini shrine inside the structure. The door guardians here are also in low relief, sculpted in profile, slightly turned in, classic pallava style. See the detailing on their dress and ornaments

Farmer: Can i show the camphor
All: Here we are all here, wonderful darshan of shiva
Vj: Satheesh, what is the name of the Lord.
Satheesh: Let me check in the book, Satrumalleshwaraaalayam
Vj: any inscriptions
Chandru: Yes, Pallava grantam of Mahendra again

Satheesh: Let me read

This rock cut cave shrine on top of the hillock called sathrumalleswaraalayam was excavated by the one who humbled many kings by the might of his army, the one titled narendra shatrumallan.

vj: Shatrumallan – lovely name. Ashok, see here, they have started putting floral designs on the pillars here as well. But the top is not fluted.

Venkatesh: Come lets go on to the top and see the Jaina beds.
Narayanswamy: Is it very steep
Vj: Not that steep, they have cut steps in the stone like a ladder. so its easier. Ashok, you come as well

Venktesh: Oh, what a view, what a location. Its breezy and cool depsite the sun at noon.

Ashok: must have brought our lunch from the car, we could have finished it here
Venkatesh: you are saying now, it would have been great
vj: From here you get an excellent view of all surrounding areas
Venkatesh: yep, but those coming up cant see, but the guys here can. Excellent location to hide and live in seclusion – foolproof safety precautions

But why did they have to hide and live in seclusion !!

Vj: This jaina bed is too comfortable, didn’t realise it will be so. My eyes are drooping.
Chandru: comes on guys, lets move on
The pump set – cool wash…hmm am hungry

Next on the agenda – Lakshithayanam, Mandagapattu Mahendra cave.

Feed half of Bhima to….

We return today with a fascinating legend, supported by three sculptures. Two from Darasuram and one from Krishnapuram. Thanks to Mr Arvind Venkatatraman for lovely pictures from Darasuram. we got an unexpected Bonus from Artist A.P. Sreethar, sharing this rare sketch of the Krishnapuram pillar by the legendary Artist Silpi as well.

While there are many different versions of this legend, am trying to give the simplest ( and less controversial one). More so, since this legend doesn’t appear in the main Mahabaratha, i am taking one that has just about enough information to support the sculptures exhibited.

Yudhistir is performing a great Yaga ( sacrifice). He is advised that inorder for it to be performed properly he needs the help ( milk of !! by some versions) Purushamriga – a half man half tiger ( or lion), which is a staunch devotee of Shiva. Trouble is the creature resides deep in a jungle and preys on almost anyone it sees. ( other versions bring in a Shivaite /Vaishnavite angle to this debate)

Bhima is selected for this task and wily Krishna gives him 12 stones ( lingas, rudrahsa by other versions) and asks him to use it when he is in trouble. Bhima sets off to find the Pururshamriga and finds it deep inside the jungle. By one version they agree to a challenge – kind of a running race, in other versions he chants something that upsets it. Well back to the story, Bhima is being chased by the Purushamriga and its catching up with him at a fast pace. Bhima decides to use the `stones’ and drops one. Instantly it turns into a Shiva LInga ( shiva temple in some accounts) – anyway the animal being a stauch shiva devotee has to worship the Lord, giving Bhima much needed time to put some distance between them. But the animals superior speed enables it to catch up with him once more and he uses one more of the stones. Thus he uses up all 12 ` help lines’ but he is still not out of the forest. He uses all his strength and just as he puts one leg outside the forest, his other leg is caught by the Purushamriga. An argument ensures and Yudhistr is called on to pass judgement.

Yudhistir being the just king that he is, rightly !! passes the judgment that the Purushamriga can have half of Bhima ( the portion within its territory). The impartial judgment makes the Purushamriga let go of Bhima and all is well.

OK, now to the sculptures. Two delightful panels from Darasuram. You can see in the first one you can see the chase. The Purushamriga seems to be hardly taxed and is about to grab Bhima.

The second panel, it has caught him and both are in front of Yudhistir ( who has a lady attending on him).

The Krishnapuram pillar sculpture is more elaborate and seems to be depicting a fight scene almost – maybe when the Pururshamriga caught up with Bhima. Both are holding small maces..


Now, we see the master strokes of Artist Silpi who has caught this pillar in his immortal work here.

Amazing sculpture and an inspiring sketch.

update+++++++++++
pl do visit Sri Raja Deekshithar’s wonderful site for more of these beauties. Sadly, sir left us this year. http://www.sphinxofindia.rajadeekshithar.com/